These notes are the result of some work done a year or two ago on the Medicean MS. of Aeneas Tacticus1 in preparation for an edition of that unduly neglected author which I hope will soon see the light. I should not have thought it worth while to publish them separately were it not for two papers, at once laborious and brilliant, read by Mr. A. C. Clark to the Oxford Philological Society on the text of Cicero′s speeches, in May, (...) 1912, and February, 1913. The extreme plausibility with which the reader then explained numberless corruptions, transpositions, etc., in the text of Cicero, by reconstructing the length of line and pagination of the MSS. in their several degrees of descent, led me to think that it might be of some interest to publish the results at which I arrived by working on the same lines with a Greek author. In my case the problem has been a far simpler one, as I only had one MS. to deal with; but as I came to my own conclusions quite independently, before I knew that the method was being applied elsewhere, I give them for what they are worth, only too glad to find myself in such good company. (shrink)

A compact, lucidly written book by a formal logician dealing with "the application of the laws of logic to various fields". After an introductory section in which the author fixes his terminology and clarifies the specific intent of the book, four "methods" are systematically discussed: the phenomenological, the semiotic, the axiomatic, and the reductive. According to Bochenski, the book is not intended to be philosophical in a primary sense. That is, the author is not himself immediately concerned with the justification (...) of any one of the "methods." This does not mean, however, that the problems intrinsic to each of the "methods" are not pointed out, problems such as the possibility of carrying out a phenomenological reduction in the Husserlian sense, the difficulties in the semantic definition of truth, the significance of the relativity of systems of logic, and the justification of inductive procedures. In each case Bochenski mentions alternative solutions that have been suggested. The book is extremely helpful in spelling out the consequences involved in the choice of a particular problem. It should prove informative to philosophers regardless of their allegiance to any one of the four "methods" discussed by Bochenski.—L. W. (shrink)

Significant research has been devoted to detecting people in images and videos. In this paper we describe a human de- tection method that augments widely used edge-based fea- tures with texture and color information, providing us with a much richer descriptor set. This augmentation results in an extremely high-dimensional feature space (more than 170,000 dimensions). In such high-dimensional spaces, classical machine learning algorithms such as SVMs are nearly intractable with respect to training. Furthermore, the number of training samples is much (...) smaller than the dimensionality of the feature space, by at least an order of magnitude. Finally, the extraction of features from a densely sampled grid structure leads to a high degree of multicollinearity. To circumvent these data characteristics, we employ Partial Least Squares (PLS) analysis, an effi- cient dimensionality reduction technique, one which pre- serves significant discriminative information, to project the data onto a much lower dimensional subspace (20 dimen- sions, reduced from the original 170,000). Our human de- tection system, employing PLS analysis over the enriched descriptor set, is shown to outperform state-of-the-art tech- niques on three varied datasets including the popular INRIA pedestrian dataset, the low-resolution gray-scale Daim- lerChrysler pedestrian dataset, and the ETHZ pedestrian dataset consisting of full-length videos of crowded scenes. (shrink)

The principles of equality and equity, respectively in the Bill of Rights and the white paper on health, provide the moral and legal foundations for future health care for children in South Africa. However, given extreme health care need and scarce resources, the government faces formidable obstacles if it hopes to achieve a just allocation of public health care resources, especially among children in need of highly specialised health care. In this regard, there is a dearth of moral analysis (...) which is practically useful in the South African situation. We offer a set of moral considerations to guide the macro-allocation of highly specialised public health care services among South Africa's children. We also mention moral considerations which should inform micro-allocation. (shrink)

SummaryThe effects of infant suckling patterns on the post-partum resumption of ovulation and on birth-spacing are investigated among the Gainj of highland New Guinea. Based on hormonal evidence, the median duration of lactational anovulation is 20·4 months, accounting for about 75% of the median interval between live birth and next successful conception. Throughout lactation, suckling episodes are short and frequent, the interval changing slowly over time, from 24 minutes in newborns to 80 minutes in 3-year olds. Maternal serum prolactin concentrations (...) decline in parallel with the changes in suckling patterns, approaching the level observed in non-nursing women by about 24 months post-partum. A path analysis indicates that the interval between suckling episodes is the principal determinant of maternal prolactin concentration, with time since parturition affecting prolactin secretion only in so far as it affects suckling frequency. The extremely prolonged contraceptive effect of breast-feeding in this population thus appears to be due to a slow decline in suckling frequency with time since parturition and absence of a decline over time in hypothalamic–pituitary responsiveness to the suckling stimulus. (shrink)

The metabolic organization of both normal and malignant prostate cellular phenotypes involves some unusual and surprising features. In particular, both conditions exhibit ratios of NADH/NAD+ and NADPH/NADP+ charactersitic of high oxidative states despite a chronic shortage of O2 in both conditions. In this paper, we observe that, in prostate cancer cells, the oxidizing power of the fatty acid synthesis (FAS) pathway is so large that redox is stabilized more favorably (more oxidized) than in normal prostate cells. This FAS‐facilitated redox improvement (...) occurs despite the fact that malignant cells are more O2 limited and therefore express more hypoxia inducible factor 1 (HIF1) and express hypoxia‐regulated genes more robustly. This unusual metabolic situation clearly separates direct regulatory effects of redox balance from secondary effects of hypoxia per se. The physiological significance of the FAS pathway is thus the harnessing of its oxidizing power for improving redox balance despite conditions of more extreme hypoxia. Similar hypoxia defense strategies are found in animal species that are unusually tolerant to oxygen lack. Our hypothesis is that the metabolic organization in the “low zinc, low citrate” phenotype reflects an hypoxia‐defense adaptation geared toward redox balance, with prostate cancer cells being relatively more oxidized, even if more hypoxic, than normal prostate cells. Recognition and understanding of these redox balancing and hypoxia defense functions may lead to new intervention strategies by developing new intracellular targets for prostate cancer therapy. BioEssays 24:749–757, 2002. © 2002 Wiley Periodicals, Inc. (shrink)

Although the topic of value congruence has attracted considerable attention from researchers and practitioners, evidence for the link between person–supervisor value congruence and followers’ reactions is less robust than often assumed. This study addresses three central issues in our understanding of person–supervisor value congruence by assessing the impact of objective person–supervisor value congruence rather than subjective value congruence, by examining the differential effects of value congruence in strongly versus moderately held values, and by exploring perceived empowerment as a central mediating (...) mechanism. Results of a multi-source study comprising 116 person–supervisor dyads reveal that objective value congruence relates to followers’ job satisfaction and affective commitment and that this link can be explained by followers’ perceived empowerment. Moreover, polynomial regression and response surface analyses reveal that congruence effects vary with the importance that leaders and followers ascribe to a certain value: Congruency in strongly held values have more robust relations with followers’ outcomes than congruence in moderately held values. (shrink)

In this timely book L.W. Sumner addresses these issues within the wider context of palliative care for patients in the dying process.

Le monde se révèle à l'homme, comme matière, temps et esprit. L'on sait à présent que considérés dans l'espace et le temps, la terre est d'une extrême petitesse et l'homme un être éphémère. Une conception du monde qui prendrait l'homme pour centre et partirait de lui ne donnerait donc aucune garantie de probabilité. Pourtant elle est assez générale, accoutumés comme nous sommes à juger d'après les perceptions grossières des sens, qui trop souvent nous induisent en erreur. Selon les physiciens, la (...) formule mathématique réunissant les coördonnées du temps et de l'espace, serait la plus conforme à la représentation du monde matériel. Nous avançons ici l'hypothèse que le monde matériel répond effectivement à cette conception, et qu'il est donc un monde plongé dans un repos éternel, dans lequel nous voyageons, pour ainsi dire, avec notre temps. Grâce à cette hypothèse, la causalité, le miracle, la prévoyance de l'avenir, s'expliquent plausiblement. Manifestement le troisième principe, l'esprit, est à la fois en interaction avec la matière et indépendante d'elle (p.e. la télépathie). Cette action réciproque suppose une parenté partielle entre l'esprit et la matière. C'est pourquoi nous proposons une seconde hypothèse: l'esprit est une "facies" de la matière qui reste en dehors de la rigidité du monde considéré comme espace et temps. On a toujours considéré ces éléments spirituels comme étant des êtres spirituels, mais leur aspect anthropomorphique nous empêche de croire à leur existence réelle. Si nous identifions la partie spirituelle du corps humain avec l'homme spirituel, le problème du libre arbitre s'explique avec clarté. Seul le procès spirituel du libre arbitre est vraiment libre, mais la volonté ne peut réaliser aucun changement dans la substance purement matérielle. La conception d'une àme se logeant dans le corps matériel comme dans une maison, et qui par ses actions détermine sa demeure future ne s'accorde pas avec l'hypothèse du monde matériel-et-temporel-en-repos. Suivant nos conceptions humaines, nous avons imaginé des êtres spirituels animés d'une volonté libre. Mais alors il faut supposer une unité spirituelle supérieure, qui considère et qui décide. Or, cette conception étant anthropomorphique il est admissible qu'elle soit la véritable figuration du monde. La solution de ce problème pourrait être trouvée par une troisième hypothèse" selon laquelle il existerait un monde supérieur, dans lequel le monde-du-temps-et-de-l'espace fusionne avec un temps supérieur, auquel le nom de "temps spirituel" serait approprié. Seul, ce monde supérieur plongé dans un repos éternel peut nous expliquer d'une façon convaincante l'univers. Un monde d'une essence et d'une invariabilité éternelles, dans lequel le temps, capable d'agir pas des voies infiniment variées, introduit des événements innombrables, les processus spirituels étant effectués par le temps spirituel, les événements matériels par ce que nous sommes habitués à appeler "le temps". (shrink)

Moral philosophers agree that welfare matters. But they disagree about what it is, or how much it matters. In this vital new work, Wayne Sumner presents an original theory of welfare, investigating its nature and discussing its importance. He considers and rejects all notable theories of welfare, both objective and subjective, including hedonism and theories founded on desire or preference. His own theory connects welfare closely with happiness or life satisfaction. Reacting against the value pluralism that currently dominates moral philosophy, (...) he advances welfare as the only basic ethical value. He concludes by discussing the implications of this thesis for ethical and political theory. Written in clear, non-technical language, and including a definitive survey of other work in this area, Sumner's book is essential reading for moral philosophers, political theorists, and welfare economists. (shrink)

Il arrive qu’une complexité extrême mette le modèle de la sélection naturelle au défi d’expliquer quoi que ce soit. Depuis Darwin, l’aptitude humaine au langage est incessamment citée en exemple-type de ce cas de figure. Et ceux qui ont souligné les problèmes posés par cette faculté si spécifiquement humaine n’étaient pas tous des critiques du darwinisme. On sait l’argument avancé par Alfred Russel Wallace, co-instigateur de la théorie de la sélection naturelle, et réputé plus darwiniste que ..

What does it mean for someone to have a moral right to something? What kinds of creatures can have rights, and which rights can they have? While rights are indispensable to our moral and political thinking, they are also mysterious and controversial; as long as these controversies remain unsolved, rights will remain vulnerable to skepticism. Here, Sumner constructs both a coherent concept of a moral right and a workable substantive theory of rights to provide the moral foundation necessary to dispel (...) such doubts. (shrink)

W. B. Gallie's words about Peirce's cosmology—"the black sheep or white elephant of his philosophical progeny" (1952, p. 216)—have often been quoted, usually as a preface to giving a better account of the animal. That he attributed the view to 'contemporary philosophers' and did not assert it himself has usually been ignored. True, Gallie did argue that the "cosmology is a failure, and an inevitable failure" (p. 236), but he also said that Peirce himself "recognized … that his work in (...) this field was imperfect and sketchy" (p. 215), and he concluded the chapter, and his book, with an extremely sympathetic account of all that is nevertheless of enduring value in that failure. After studying Peirce's writings of his.. (shrink)

Suppose that the ultimate point of ethics is to make the world a better place. If it is, we must face the question: better in what respect? If the good is prior to the right — that is, if the rationale for all requirements of the right is that they serve to further the good in one way or another — then what is this good? Is there a single fundamental value capable of underlying and unifying all of our moral (...) categories? If so, how might it defeat the claims of rival candidates for this role? If not, is there instead a plurality of basic goods, each irreducible to any of the others? In that case, how do they fit together into a unified picture of the moral life? These are the questions I wish to address, in a necessarily limited way. To many the questions will seem hopelessly old-fashioned or misguided. Some deontologists will wish to reverse my ordering of the good and the right, holding that the right constrains acceptable conceptions of the good. For many contractarians, neither the good nor the right will seem normatively basic, since both are to be derived from a prior conception of rationality. Finally, some theorists will reject the classification of moral theories in terms of their basic normative categories, arguing that the whole foundationalist enterprise in ethics should be abandoned. In the face of these challenges to the priority of the good, and in light of the many current varieties of moral skepticism and relativism, I cannot provide a very convincing justification for raising the questions I intend to discuss. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Le monde se révèle à l'homme, comme matière, temps et esprit. L'on sait à présent que considérés dans l'espace et le temps, la terre est d'une extrême petitesse et l'homme un être éphémère. Une conception du monde qui prendrait l'homme pour centre et partirait de lui ne donnerait donc aucune garantie de probabilité. Pourtant elle est assez générale, accoutumés comme nous sommes à juger d'après les perceptions grossières des sens, qui trop souvent nous induisent en erreur. Selon les physiciens, la (...) formule mathématique réunissant les coördonnées du temps et de l'espace, serait la plus conforme à la représentation du monde matériel. Nous avançons ici l'hypothèse que le monde matériel répond effectivement à cette conception, et qu'il est donc un monde plongé dans un repos éternel, dans lequel nous voyageons, pour ainsi dire, avec notre temps. Grâce à cette hypothèse, la causalité, le miracle, la prévoyance de l'avenir, s'expliquent plausiblement. Manifestement le troisième principe, l'esprit, est à la fois en interaction avec la matière et indépendante d'elle. Cette action réciproque suppose une parenté partielle entre l'esprit et la matière. C'est pourquoi nous proposons une seconde hypothèse: l'esprit est une "facies" de la matière qui reste en dehors de la rigidité du monde considéré comme espace et temps. On a toujours considéré ces éléments spirituels comme étant des êtres spirituels, mais leur aspect anthropomorphique nous empêche de croire à leur existence réelle. Si nous identifions la partie spirituelle du corps humain avec l'homme spirituel, le problème du libre arbitre s'explique avec clarté. Seul le procès spirituel du libre arbitre est vraiment libre, mais la volonté ne peut réaliser aucun changement dans la substance purement matérielle. La conception d'une àme se logeant dans le corps matériel comme dans une maison, et qui par ses actions détermine sa demeure future ne s'accorde pas avec l'hypothèse du monde matériel-et-temporel-en-repos. Suivant nos conceptions humaines, nous avons imaginé des êtres spirituels animés d'une volonté libre. Mais alors il faut supposer une unité spirituelle supérieure, qui considère et qui décide. Or, cette conception étant anthropomorphique il est admissible qu'elle soit la véritable figuration du monde. La solution de ce problème pourrait être trouvée par une troisième hypothèse" selon laquelle il existerait un monde supérieur, dans lequel le monde-du-temps-et-de-l'espace fusionne avec un temps supérieur, auquel le nom de "temps spirituel" serait approprié. Seul, ce monde supérieur plongé dans un repos éternel peut nous expliquer d'une façon convaincante l'univers. Un monde d'une essence et d'une invariabilité éternelles, dans lequel le temps, capable d'agir pas des voies infiniment variées, introduit des événements innombrables, les processus spirituels étant effectués par le temps spirituel, les événements matériels par ce que nous sommes habitués à appeler "le temps". (shrink)

Peut-être que jusqu'ici dans les recherches philosophiques sur la nature du temps on a attribué trop peu d'attention à la distinction entre « temps » comme catégorie mathématique d'une part, et « temps » comme il est réalisé dans des processus et des périodes d'autre part. Quand on essaie de combler ce vide, on éprouve le besoin d'impliquer dans ses considérations l'apparition fréquente de « nouveauté » et de « commencement ». C'est pourquoi on examine dans la première partie de (...) cet article comment nous nous formons une notion mathématique du temps. Il apparaît que cela se fait en idéalisant la perception des périodes. On s'imagine que l'unité du temps une fois choisie peut être reproduite exactement, et même jusqu'à l'inñni. En outre on s'imagine que chaque période peut être divisée en des intervalles arbitrairement petits. Un instant est pensé comme une limite nette entre le temps qui précède et le temps qui suit ; ici la séparation entre les deux parties du temps est posée comme absolue contre arrière-plan d'un temps dont justement la cohérence est posée comme absolue. C'est ainsi que naît la catégorie du temps comme une possibilité homogène, toujours égale à elle-même pour indiquer des instants indivisibles et pour délimiter des périodes, à savoir une possibilité qui s'étend sans limites des deux côtés de l'instant actuel, aussi bien vers l'avenir que vers le passé. Quand on indique un instant, deux notions contradictoires sont posées en même temps, à savoir une séparation absolue et une cohérence absolue. Dans la physique ce schéma mathématique s'avère extrêmement utile. Pourtant il s'agit de se rendre toujours compte de l'applicabilité défectueuse de ce schéma, de sorte qu'on fasse attention aux complications qui exigent un complément et une correction de la théorie. Quand on applique le même schéma aussi aux processus vitaux et aux événements psychiques, alors l'incohérence entre le schéma mathématique et la succession réelle des périodes se trouve encore plus grande. Dans la deuxième partie on analyse le « commencement ». De la manière la plus originelle un commencement se présente devant nous, quand nous essayons d'avoir une vue d'ensemble de notre propre vie, comme elle se trouve dans notre mémoire. Dans le passé nous rencontrons alors une frontière que nous ne pouvons pas marquer cependant nettement sur une échelle mathématique. Ainsi en analysant chaque commencement on doit distinguer de nouveau soigneusement le commencement dans le domaine mathématique de celui dans l'ordre réel. Le caractère abrupt qui est propre à un commencement « mathématique » se trouve absent dans un commencement « réel ». Dans la troisième partie il est démontré que le temps et le commencement sont inséparablement liés l'un à l'autre. Le temps réel apparaît partout dans des périodes ayant un commencement et ainsi dans un ensemble compliqué de commencement et de permanence. Toutes les totalités dans la nature vivante et dans la nature inanimée, les individus ainsi que les espèces, ont été neuves une fois. Avant ce commencement multiple notre univers a été neuf. Cependant, alors il appert que cette mesure perd son utilité. Lorsque l'univers était encore en gestation, notre temps, lui aussi, avec sa mesure était en formation. C'est pourquoi une localisation exacte du commencement de l'univers sur l'échelle du temps n'est pas seulement impossible, mais même absurde. Cependant, si un commencement ne peut jamais être déñni de façon mathématique, il est pourtant défini de sa manière particulière dans le temps, c'est à dire par une définition qui essentiellement contient une certaine imprécision. Quant au commencement de l'univers les sciences physiques conduisent par des chemins différents à un même résultat, et font conclure à un âge de l'univers de quatre milliards et demi d'années environ. Finalement une question concernant la notion de création se présente. La tradition connaît en effet une notion de création dans un sens très stricte, distinguée des notions de « conservatio » et de « concursus ». On a l'habitude de lier le fait de la création à un seul ou à quelques instants. Mais nous croyons pouvoir démontrer que dans la dépendance que les créatures ont a l'égard du Créateur, il y a toujours aussi un aspect d' « être créé » dans le sens cité plus haut, un aspect qui se met d'autant plus au premier rang qu'il y a plus de nouveauté et de discontinuité vis à vis du passé. (shrink)

If I lead a life of virtue, that may well be good for you. But will it also be good for me? The idea that it will—or even must—is an ancient one, and its appeal runs deep. For if this idea is correct then we can provide everyone with a good reason—arguably the best reason—for being virtuous. However, for all the effort which has been invested in defending the idea, by some of the best minds in the history of philosophy, (...) it remains unproven. Worse, in this skeptical age hardly anyone really believes it. I don't really believe it either, at least not in its strongest forms, but I think that the question is nonetheless worth examining. Even if we cannot show that virtue and self-interest coincide, we can at least measure the breadth of the gap between them. (shrink)

No one who cares about equal opportunity can derive much comfort from the present occupational distribution of working women. In the various industrial societies of the West, women comprise between one quarter and one-half of the national labor force. However, they tend to clustered in employment sectors – especially clerical, sales, and service J occupations – which rank relatively low in remuneration, status, autonomy, and other perquisites. Meanwhile, the more prestigious and rewarding managerial and professional positions, as well as the (...) major categories of blue-collar labor, remain largely a male preserve. In the same societies the average income earned by full-time female workers is one-half to two- J thirds that of their male counterparts. Although this disparity owes much to i other factors, including lower pay for work similar or even identical to that r standardly done by men, much of it can be explained only by the concentration of working women in traditional female job ghettos. (shrink)

Ever since medical assistance in dying (MAID) became legal in Canada in 2016, controversy has enveloped the refusal by many faith‐based institutions to allow this service on their premises. In a recent article in this journal, Philip and Joshua Shadd have proposed ‘changing the conversation’ on this issue, reframing it as an exercise not of conscience but of an institutional right of self‐governance. This reframing, they claim, will serve to show how health‐care institutions may be justified in refusing to provide (...) MAID on moral or religious grounds. I argue that it will not make it easier to justify institutional refusal, and is likely to make it harder. (shrink)

This paper describes the change of emphasis that occurred in the teaching of ethics to small groups of clinical students. Although the original focus of the course was on the analysis of ethical dilemmas associated with individual patients known to the students, it soon became evident that there were, for the students themselves, more fundamental ethical dilemmas in their new role as clinical students. These included worries about how to respond when patients asked questions which their consultants had previously deceived (...) them about, worries about inflicting pain on patients, as with intravenous cannulation, and the role of the medical student in the clinical team. We emphasise the need to explore student experiences as part of the process of ethics teaching. (shrink)

This article adds to earlier research revealing that the American news media did not discharge their responsibility as a watchdog press in the post-9/11 years by failing to scrutinize extreme and unlawful government policies and actions, most of all the decision to invade Iraq based on false information about Saddam Hussein’s alleged weapons of mass destruction arsenal. The content analyses presented here demonstrate that leading US news organizations, both television and print, did not expressly refer to human rights violations (...) when they reported on the torturing of foreign detainees during “enhanced interrogations” in US-run prison facilities abroad and the killing of civilians, including children, in US drone strikes overseas and outside theaters of war. Moreover, by framing torture and the “collateral damage” caused by drone-launched missile attacks episodically rather than in the context of human rights, the news media failed to alert the American public to the grave humanitarian violations in the so-called war on terrorism during the George W. Bush and Barack Obama administrations. (shrink)

How are we to understand the role of bioethics in the health care system, government, and academe? This collection of original essays raises these and other questions about the nature of bioethics as a discipline.

Consider the following well-known result from the theory of normed linear spaces ([2], p. 80, 4(b)): (g) the unit ball of the (continuous) dual of a normed linear space over the reals has an extreme point. The standard proof of (~) uses the axiom of choice (AG); thus the implication AC~(w) can be proved in set theory. In this paper we show that this implication can be reversed, so that (*) is actually eq7I2valent to the axiom of choice. From (...) this we derive various corollaries, for example: the conjunction of the Boolean prime ideal theorem and the Krein-Milman theorem implies the axiom of choice, and the Krein-Milman theorem is not derivable from the Boolean prime ideal theorem. (shrink)

When Amartya Sen defends his capability theory of well-being he contrasts it with the utility theory advocated by the classical utilitarians, including John Stuart Mill. Yet a closer examination of the two theories reveals that they are much more similar than they appear. Each theory can be interpreted in either a subjective or an objective way. When both are interpreted subjectively the differences between them are slight, and likewise for the objective interpretations. Finally, whatever differences may remain are less important (...) than they might seem, since the two theories are developed by Sen and Mill for different purposes and are in that sense not genuine rivals. (shrink)

No one who cares about equal opportunity can derive much comfort from the present occupational distribution of working women. In the various industrial societies of the West, women comprise between one quarter and one-half of the national labor force. However, they tend to clustered in employment sectors – especially clerical, sales, and service J occupations – which rank relatively low in remuneration, status, autonomy, and other perquisites. Meanwhile, the more prestigious and rewarding managerial and professional positions, as well as the (...) major categories of blue-collar labor, remain largely a male preserve. In the same societies the average income earned by full-time female workers is one-half to two- J thirds that of their male counterparts. Although this disparity owes much to i other factors, including lower pay for work similar or even identical to that r standardly done by men, much of it can be explained only by the concentration of working women in traditional female job ghettos. (shrink)